Good on-camera chat w Mr. Sefton: Meltdown, Ute, Scope J, etc. Early wrap due to a certain, er…cancellation/postponement…

So - official end of production still in sight: Tuesday?

Have been living with The Drift for a few weeks now - feeling like one of the first human explorers to make it to Mars. The album itself should be nominated for Best Foreign Film - it defies “album” - it is more like a continent. Will take five documentaries to work through it.

5 Responses to “melted”

  1. Rob Says:

    Do you get the feeling that it’s so “out there” because that’s what’s expected after TILT? Weird for weird’s sake. Or is Scott truly following an honest musical vision of where he’s at, and what he wants to put out?

  2. paul Says:

    I don’t get the impression that he does anything just for effect. He’s devoted to exploring soundscapes and mood; even to the point of making things completely incoherent. That’s not a criticism either. Think about it. Could anyone say with any assurance what some of the titles on Tilt are about, but him? Take “Farmer in the City” - I’m fairly well read and I have no fucking clue what “braingrass” is - I suppose it’s vaguely related to Passolini, the reveloutionary Italian film maker but who knows. But because the music and vocals are so sweeping and transporting, it doesn’t matter. He foregoes meaning sometimes to get to what is more important to him, which is mood..which isn’t always knowable or coherent. And I think the music is much much richer for it.

    The question I have and I wish someone would answer it is why he won’t play live? He’s got the voice; he’s got access to the greatest musicians in Britain who would drop everything to play with him. He could play just 2 shows, 1 in London and 1 in NYC. That’s it. It would be historic and wonderful, and tickets would go for thousands I’m sure.

  3. Kijak Says:

    There are some quotes I love from Tilt-era interviews that addresses some of this…

    “If I’m using politics, I’ll use it to talk about an inner state rather than a political state. They’re related. It’s a way to break out of the [traditional] songwriting format. I’m looking inward — that’s why you get a solitary feel from the music. I’m composing something of myself through fragments.”

    and on Pasolini…

    “I’m not particularly interested in Pasolini as a filmmaker, though I’ve liked a couple of things by him. But his death was interesting because what exactly happened still hasn’t
    been resolved. They convicted one person, but there’s a conspiracy theory that it might have been a right-wing government move…He was murdered next to a big European football field. The whole scenario was bizarre, with very dark associations. I wanted to set a mood, so I used the words like a montage.”

    from an interview by Johnny Huston, Punctureā€¯ Fall 1997, Issue #40.

  4. paul Says:

    If the rumours are true, Passolini was very into rough trade (and by the looks of most Italian trade, who could blame him), and was murdered by one. It would not have been completely unheard of to have your trick turn on you. As for a conspiracy, I’m not so sure, but who knows.

    I can’t wait for your film. If there’s anyway you can get Mr. Walker to do some kind of interview or performance for WNYC/NPR, that would be dreamy. I know David Garland devoted a whole 2-hour show to Scott Walker once and played Tilt in its entirety. That’s quite a feat.


  5. Geri Says:

    Put this on another thread by mistake,,,, the 2 hour David Garland interview is still available to listen to in its entirety on the WNYC archives.

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